Tony Maietta:
Hello. I'm film historian Tony Maietta.

Brad Shreve:
And I'm Brad Shreve, who's just a guy who likes movies.

Tony Maietta:
We discuss movies and television from Hollywood's golden age. We go behind the scenes and share our opinions too.

Brad Shreve:
And of course, being the average guy, my opinions are the ones that matter.

Tony Maietta:
As does your self delusion. Welcome to going Hollywood.

Tony Maietta:
Okay, Brad, let's get this started. Oh, hey, that looks new. Did you move your podcast studio to a different room?

Brad Shreve:
Yeah, thanks for noticing. I moved it to the front of the house so I can get the morning sunlight.

Tony Maietta:
Well, won't the sunlight shine in your eyes in the morning when you're in there?

Brad Shreve:
Yeah, but I'm not too ignorant to get up and pull down a winder blind.

Tony Maietta:
Yeah, well, I'm not too ignorant to know that you should put a podcast studio in the back of the house where it belongs. Stop that. You sound like a big old bar Grayling. Every time I say that, it makes me laugh. I don't know why, but it makes me laugh. Well, hey, everybody. How are you? So I love that beginning we did. For those of you who don't know, that's a little riff on our movie of today that we're talking about, which is.

Tony Maietta:
Which was kind of Brad's choice, but it's in our Best act. It's probably the last one in our Best Actress series. And what is that film we're gonna talk about today? Brad, tell the people.

Brad Shreve:
It is Coal Miner's Daughter. And, you know, you mentioned about a week or two ago when we were trying to schedule when to record this, that it was my choice. And I'm like, I don't remember it being my choice, but I do, because I remember you made the list of possibilities, and I'm like, I think you were trying to push me towards another one, and I don't remember what it was. And I'm like, so I chose Coal Miner's Daughter only because I didn't remember anything about it other than I remember I really, really liked Sissy Spacek. So I remembered nothing else about it.

Tony Maietta:
I don't think I would ever intentionally move anybody away from Coal Miner's Daughter. I love this movie so much. I can't. I don't. I don't buy that that's. That's your version, but maybe, who knows?

Brad Shreve:
No, no, you weren't trying to push me away. You were trying to push me towards something else.

Tony Maietta:
Oh, towards something else. Well, that sounds like yes, but I

Brad Shreve:
don't remember what it was. So, folks, you can't call them up and complain, because if I knew, I wouldn't tell you, but I don't remember.

Tony Maietta:
I also want to say that this is. This could be interesting, this recording. I wanted to do this film so much. I went on location. I'm actually. I'm on location, listeners. I am in West Virginia because I just really, really wanted to be in the spirit, in the mood of this film. And that's not true, actually.

Tony Maietta:
I'm on vacation. But yeah, I'm so close, Brad. You know, there's a holler two doors down. Two doors down. We got a holler. It's amazing. The Van Leer coal mine store, country store. I got my script.

Tony Maietta:
I'm gonna go buy my. Buy some supplies. It's all within spitting distance here.

Brad Shreve:
Okay, well, I'm gonna protect you here, Tony. Listeners, he is in West Virginia. Loretta Lynn is from Kentucky. They wound up settling in Tennessee. But it's all in the Southwest.

Tony Maietta:
No, but here's the point.

Brad Shreve:
Or southeast. Southeast. Southeast.

Tony Maietta:
Coal Miner's Daughter was filmed on location in the Three Corners where Kentucky and West Virginia. And I think it's Tennessee meet. Oh, so it's. I'm very close. And let me tell you something right now, there are some. I mean, talk. I grew up in this area, okay? I mean, I didn't grow up in West Virginia, but I grew up in Pennsylvania. And the mountains, there's nothing like the Appalachian mountains, the Allegheny Mountains, I mean, when they used to call us ridge runners when I was a kid because of all the hills.

Tony Maietta:
Now, I know I'm much more cosmopolitan now, but it is very similar to this. I mean, there are hills and there are hollers in this area which are deep in the people. Very similar.

Brad Shreve:
And I'm glad you brought up the cosmopolitan part because you brought up something I'm going to bring up later that I saw in an interview.

Tony Maietta:
All right, cool.

Brad Shreve:
We'll discuss it later. I think it was from Michael Apted,

Tony Maietta:
the director of Coal Miner's Daughter. So, yes, we're talking about coal miners daughter from Universal in 1980 and featuring the Best Actress winner of 1980, Ms. Sissy Spacek, as the coal miner's daughter herself, the. The first lady of country music, Miss Loretta Lynn. And you said, Brad, that you don't remember seeing this, but were you. Are you a fan of Loretta Lynn's music before you saw this movie? Are you still how you feel about that?

Brad Shreve:
Well, you know, my music is very much like my movie preferences. I'm very eclectic. You know, I can. I can watch a Marvel movie and then the next, immediately afterwards, watch some great classic, and I can enjoy them both for what they are. I'm very similar when it comes to music. I love rap. It's rap and hip hop are what I'm listening to the most now. I put on opera a lot.

Brad Shreve:
I put on jazz a lot. I. So across the board. But. But if there's one type of music that I'm least likely to turn on, it is country. So I. I do enjoy some of Loretta's songs, but the they I would never put on a Loretta Lynn playlist.

Tony Maietta:
Well, all I can say is when you're looking at me, you're looking at country. That's all I gotta say. I was never a fan, maybe because I grew up in western Pennsylvania and I grew up around a lot of it. I was always. I was never a fan of country music. I believed all of the cliches, all of the terrible things they said about country music. And then I saw Coal Miner's Daughter and like many millions of people, it kind of opened my eyes to the world of Loretta Lynn and the world of her music. And I was immediately.

Tony Maietta:
My boyfriend and I at the time were obsessed with this. I mean, we still quote Loretta to each other, Loretti to each other, and some of these songs and some of these lyrics. And then it got me into Patsy Cline and of course, I always knew Dolly from nine to five, but even further into Dolly. And I have such a respect and such an admiration for this music. And it's just damn fun. It's just damn entertaining and it says a lot. And I think that's what I love about Coal Miner's Daughter. It was intended this way.

Tony Maietta:
It is a absolutely non judgmental, beautiful portrait of this part of the country. You know, this part of the country gets a lot, gets maligned a lot. You know, I think mostly because of the Beverly Hillbillies. I gotta tell you, I was thinking about it. You know, people make the jokes, people make the snide remarks. And what's so beautiful about this movie is that it treats that part of the country and that culture with the respect and the gravitas that it deserves, I feel.

Brad Shreve:
And that's where I was going to bring up the interview that I saw with Michael Eptek. He was asked in an interview, specifically, as a British director, what did you bring to this film that would have been different? They're like, this is Americana. This is. This is an American music. This is an American icon. How were you able to make this film that would have been different? And he said, I didn't even know this world existed. This poor white people living in the mountain. I knew nothing about it.

Brad Shreve:
And I have since learned that people in New York and some of the other major cities in the cosmopolitan areas, how they look at these people and how they feel about these people. I didn't have that.

Tony Maietta:
No, it's true.

Brad Shreve:
I just played them for who they are. And I thought that was brilliant.

Tony Maietta:
It is brilliant. And, you know, Cissy Spacek said that that was the reason the movie worked. She said, because first of all, Michael Apted was from a British coal mining area, first of all, which is kind of ironic. So he wasn't no stranger to it, but they all thought that he wasn't the first director. But when the first director left because of problems with issues with Loretta Lynn, and they brought on Michael Apted, they thought it was brilliant because he would be. He's an outsider. He was less likely to bring the cultural baggage that an American director might. You know, all those preconceived notions of Appalachia, you know, he wasn't into those cliches of white trash and all that bullshit.

Tony Maietta:
So I think it's a. It was a brilliant choice because that's why the film plays so beautifully and so real without those stupid cliches. There's a real respect for these people and their culture in this movie. And I find it one of the most charming things about this film.

Brad Shreve:
And, you know, I'm from the south and a good part of my life was in the south. And I know these people that are in this film. And I will say that they were portrayed. They are who they are. They weren't made into. I'm gonna say they're stereotypes because there's always aspects of stereotypes that. That's why stereotypes exist. But they weren't played as stereotypes.

Brad Shreve:
They weren't played as clowns. They were who they are. They were very real. I knew these people.

Tony Maietta:
Yes. And the most real and the most nuanced and the most amazing person in this movie is the titular character of the coal miner's daughter of Loretta Lynn play. I don't even wanna say played by Sissy Spacek. Sissy Spacek becomes Loretta Lynn. She is. I mean, it's not acting, it's being. It's what the ultimate goal of an actor is. It's not to act something, it's to just be it.

Tony Maietta:
And that's what's so amazing about Sissy Spacek. Not for one moment do you not believe she's Loretta Lynn. Not for one moment.

Brad Shreve:
I think the way this was filmed was when it was time for Sissy to do her role, Loretta laid down and went to sleep and channeled into Sissy. Yes.

Tony Maietta:
Right. Even when it comes to the singing.

Brad Shreve:
Yes.

Tony Maietta:
Sissy Spacek's own singing. And there's a funny story when we get in the background about it, but even her singing. Now, Sissy Spacek started out as a singer. She wanted to be a singer. And, yes, she's from Texas, but there's a world of difference between Texas and Kentucky. And there's a world of difference between Kentucky and the way Loretta Lynn speaks. Sissy SpaceX, that she realized after being with Loretta Lynn for however many weeks she was studying with Loretta Lynn to become Loretta Lynn, that Loretta Lynn speaks like nobody else she's ever heard of. The way she pauses, the way she breathes, her cadences.

Tony Maietta:
And Sissy Spacek just. Yeah, you're right. She's channeling. She's channeling Loretta Lynn in this. Even though Loretta Lynn was very much alive, she was channeling all this.

Brad Shreve:
There's a lot of people that aren't from the south who don't realize the very distinct differences between the different regions. Just even within one state. You can, you know, I could tell you what parts of North Carolina different people are from. And then you get South Carolina and you move throughout the south, down to Texas. It's all very different. So, yeah, you would think, okay, well, it'd be easy for Sissy SpaceX. No, it's not that easy.

Tony Maietta:
No, it's not. And she so immersed. And there was pushback from Universal, from this first director about Sissy playing Loretta, but a little bit of the bat. But we'll get into the background. But do we want to go through this, the rest of this incredible, incredible cast before we start talking about the background and the film and all the stuff that we do?

Brad Shreve:
Yes. And I. Very excited to talk about Mooney as well. So I'll go through the. We've already made it very clear that Sissy Spacek played Loretta Lynn. Tommy Lee Jones, who I have never really thought of as a handsome man, never thought he was an unattractive man, but never thought of his handsome man until this movie. He looked really good. He played Dolittle.

Brad Shreve:
Mooney Lynn, Loretta Lynn's husband.

Tony Maietta:
Do, do.

Brad Shreve:
Yes, do, do. And I saw him interview. We'll talk about that as well. Beverly d' Angelo played Patsy Cline. She did a beautiful job and she sang.

Tony Maietta:
Unbelievable. Unbelievable is Patsy Cline.

Brad Shreve:
I was saying that country is not high on my list. Patsy Cline is high on my list, but it's not because Patsy Cline is a country singer. Patsy Cline is an angel.

Tony Maietta:
She's just a brilliant singer. She's one of those performers which crosses all genres. Patsy clients, you know, Loretta's country. I'm not Loretta's not pop. Loretta's not. Well, did you ever listen to Real quick aside Van Leer Rose, the album that Loretta did with Jack White?

Brad Shreve:
No.

Tony Maietta:
Oh my God, it's fantastic. But anyway, Loretta's country. There's no denying that Patsy Cline covers all genres and that she's like Judy Garland and that voice. And Beverly d' Angelo did, of course, did all her own singing in this film, as did Sissy Spacek. And it is phenomenal. Phenomenal.

Brad Shreve:
I've seen Patsy Cline played for rap singers who had never heard her before. And they sat there with their mouths open.

Tony Maietta:
Oh my God.

Brad Shreve:
Just astonished at what they were.

Tony Maietta:
Absolutely, absolutely. No. And this performance, this performance. Sissy SpaceX said she didn't realize that Beverly DiAngelo could sing like. Oh well, she did do hair, but still she was surprised.

Brad Shreve:
This role, I'm gonna say is the one that made me the maddest because it was so short. Her role was so memorable. I thought for sure she was half the film. And then when I'm like, wait a minute, that was all we got, I was just amazed. So the next is Levon Helm, who played Ted Webb. And I think it would be easy to say that he just was a cardboard character because he played that role so well. A typical man in that era and that time period that doesn't allow himself to feel cares and loves for his children. But he's just a hard working guy who expects discipline.

Brad Shreve:
And I felt very real for both him and. And Phyllis Boyens, who played his wife Loretta's mother.

Tony Maietta:
Both non actors for both of these, their first acting gigs. Because Levon Helm is a musician. He's in the band, the band. And he was a friend of Tommy Lee Jones. And Tommy Lee Jones suggested him to Michael Apted for this part. And Michael Apted's like, I don't really see it. Cause at that time he had a beard and long hair. Then he came on the set and he.

Tony Maietta:
They give this film its heart. They are so much the center of this film. Loretti's parents, these actors. Phyllis Boyens was a mountain singer. I mean, she's not an actress either. She was very. And it's one of the reasons why this film is so beautifully authentic. It's because it's got these real people who are not making fun of their characters.

Tony Maietta:
They are part of that world. And I think that's what makes it so, so incredibly touching. These two non actors playing these parts. He's wonderful as her father. He's so touching when he says to her when he says goodbye to her, you know, I ain't ever going to see this last time I'm going to see you or I ain't ever going to see you again. I can't remember the exact line. And he's so. I don't know how much when they weigh themselves, that's one of my favorite lines.

Tony Maietta:
He's weighing himself, waiting for the train. And he said, I don't know how much. He's 135 or something like that. And he goes, I don't know how much of that's me and how much of that's coal dust I swallowed. You know, he's so. It's so perfect. It's so real.

Brad Shreve:
Yeah. And when he says, I'll never see you again, and she said something like, daddy, that's not true. And he said, I'll never see my little girl again. Yeah, yeah, she's gone. And that was. That tugged at my heartstrings big time.

Tony Maietta:
Yeah. So, yes, an incredible cast of actors and first time actors bringing this, this story to life. Based on the 1976 book by Loretta Lynn called Coal Miner's Daughter. And you know, Coal Miner's Daughter, it spent eight weeks on the bestseller chart. And so when they decided they were gonna make it a movie, this is, this is kind of the background of this and how Sissy came to this film. Because it's a very interesting story. It's very funny, I think it is. So Loretta, when they realized they're gonna make it a movie, Loretta liked to go on the talk shows.

Tony Maietta:
She was always on Johnny Carson, she's on Dinah Shore Show. And what happened was Loretta, they brought Loretta, Universal, the producers brought Loretta, a stack of 8 by tens, as they used to be called back in the day. Kiddies of actors, they were basically the actors. Publicity photos, big stack. And she got down to this little strawberry haired freckled girl and she went, that's her, that's the coal miner's daughter. And it was Sissy Spacek. Well, Loretta Lynn didn't bother to go talk to Sissy Spacek about it. She just would start talking about it.

Tony Maietta:
She'd be on Johnny Carson, she'd be doing interviews saying, yeah, and Sissy Spacek's going to play me in the movie. And Sissy Spacek heard this and she's like, wait a minute, what? Come again? Huh? But she kept saying it over and over again. So Sissy Spacek, at this point in her career, she had just, you know, she had done Carrie, she'd done three Women. She did not want to. She wanted to play a more sophisticated adult role. She wasn't sure about this role as the young Appalachian girl, Loretta Lynn and everything that Loretta, even though she admired the story, so she thought, okay, I'm going to go ahead. Because Loretta was still talking about the fact that Sissy Spacek was going to play her. And they did talk to Sissy Spacek about it.

Tony Maietta:
And she was torn between these two movies that she wanted to do, Coal Miner's Daughter and another movie, a Nicholas Rigg movie. And so she said, okay, this is what we're going to do. She happened to be in near Shreveport where Loretta Lynn was doing a concert. Sissy Spacek and her husband went to go. They arranged a meeting with Loretta Lynn to talk to her and to see what this was. She said they were very late. The concert was already over. But as they were approaching, they saw the big bus.

Tony Maietta:
And as they were approaching the bus, the door opened and this tiny little woman in. In a red chiffon gown and big hair came out with this whole coterie of people behind her. And she said. The woman had her fist in the air. And she was saying, bam, bam, bam, bam, bam. I heard all through that concert was that Dan Gum drums in my ear. Bam, bam, bam, bam. Dad gumdrums.

Tony Maietta:
She said. And Sissy said, I have to play this woman. So the decision was pretty much made right there. And as I said, Sissy met with the first director that didn't work out. He didn't want her. But then they got Michael Apted on board, and Sissy, once she committed to playing Loretta Lynn, she really. Have you ever heard these stories? She really immersed herself in the world of Loretta Lynn. And at first.

Tony Maietta:
Can you believe this? At first, Universal wanted to dub her with the actual Loretta Lynn. Now, well, maybe we'll touch on Sweet Dreams, the Jessica Lange film version of. Of Patsy Cline's life, where Jessica Lange is dubbed by the real Patsy Cline. Yes, I love her in that movie, but should have gone to Beverly d'. Angelo. That's all I'm saying.

Brad Shreve:
I agree. And Beverly d' Angelo was asked, if they make the Patsy Climb film, would you want to do it? And she said, yes.

Tony Maietta:
It's just so sad. I mean, I love Jessica Lange. Don't get me wrong, I love her. But, yeah, it should have been Beverly d'. Angelo. Sissy said that. Loretta said, no, Sissy's got a good enough voice to play her. Just have her work with me for a while.

Tony Maietta:
So she did. She not only Talked to Loretta and tape recorded stories that Loretta told for hours and hours and hours. But Loretta taught her. She went to a hotel with Loretta, I believe it was for 10 days or two weeks. And Loretta pinned the lyrics of her songs on lampshades, on walls, on doorways. And Cissy would follow behind Loretta as Loretta would sing the songs and she would mimic Loretta and she would mimic the hand gestures and Loretta's movements until finally she became Loretta Lynn. That was it. She just.

Tony Maietta:
She said it was so much to the point where her own dog, she hadn't seen her dog for a while, and her dog came to greet her one day, and when she was fully in Loretta Lynn mode and she talked like Loretta Lynn and the dog backed up like he didn't know her. He's like, who's that? You know, she just. She immersed herself in this part and she became Loretta Lynn. Fascinating.

Brad Shreve:
And, you know, Tommy did the same thing. And that's one thing that I didn't remember about this movie at all. This is not in a Loretta movie. This is. This is a Loretta and do movie. It's about them as a couple, which actually is one of the negatives which I'll get into was their portrayal. But Tommy Lee Jones was talking about how it was due. That taught him how to drive the tractor.

Tony Maietta:
Yes, yes. The bulldozer. Yeah.

Brad Shreve:
And he said spending that time with him, he got to see how does do wear. How does he wear his hat? How does he tug on his shirt? How does he walk? These weren't folks that just said, I'll just play them. They really immersed themselves into these real people. And DU said, they said, asked him, they said, when you watch that, do you see yourself? And they said, yeah, that was all real. That was me.

Tony Maietta:
Amazing.

Brad Shreve:
And that story was me.

Tony Maietta:
He's wonderful. And if people don't know it, Tommy Lee Jones, he was a cum laude graduate from Harvard. Okay. He was not in any way, shape or form do little in now, he was from the south, so there was a certain Southern wildness charm about him. But this man was Al Gore's roommate in college. I mean, this is a. This is. This is an academic Tommy Lee Jones.

Tony Maietta:
And if you ever watch interviews with Tommy Lee Jones, it's obvious. I mean, he's incredibly well spoken and well man. So the fact that he became this. This character of Do Little Lynn and nailed it is tremendous. It's tremendous and very sad that he did not get an Oscar nomination. We can talk about that near the end because we've talked about this race before of 1980, and it was a pretty stacked year. So unfortunately, Tommy Lee Jones did not get a nomination, which he and Loretta Lynn was not happy about that. She was very upset that he didn't because she felt that he captured Doolittle perfectly.

Tony Maietta:
And I agree. And he's adorable. He's adorable as Doolittle.

Brad Shreve:
He really is. I mean, the film had seven nominations and she was the only actor that had a nomination.

Tony Maietta:
Which is. Doesn't make sense to me. Doesn't make sense. I don't know. I found all the performances in this film extraordinary. But, yeah, but I mean, she. You can't deny her. You know, she actually got so good at sounding like Loretta.

Tony Maietta:
Loretta took her to the Opry. They went on the stage of the Grand Old Opry and sung together and like with trade off verses of songs and you know, because she also, Loretta also had her study with Owen Bradley, who was a. Who's a big. Who's a legendary Nashville record producer. He produced Loretta's films, he films Loretta's music, he produced Patsy's music. So these people were not kidding about playing these parts. In fact, they were so immersed in these parts that when they went to initial filming and the initial parts of this film were filmed, as I said, on location in rural Kentucky. The beginning of it, when they're in Butcher Holler, they blended in so well.

Tony Maietta:
They never left their characters. Loretta, Loretta. See, I just called her Loretta. Sissy was Loretta for the entire time of filming. She said she was afraid to let her go because she was afraid she wouldn't be able to get her back. And the same thing with Tommy Lee Jones as Mooney, as Doolittle, same thing. And you see that they're living these parts.

Brad Shreve:
I wonder if they went Honky Tonkin.

Tony Maietta:
Oh, I'm sure they did. I'm sure they. Well, I don't know if there's a. Well, I don't know. They're. When they were up in those hollers. And for people who don't know, a holler is a way of saying a hollow. Okay, it's a hollow.

Tony Maietta:
But if anybody's watched Coal Miner's Daughter, which we hope you have, if you're listening to this, it's not a hollow, it's a holler. That's the way it's pronounced.

Brad Shreve:
Well, in North Carolina we had hollers. And actually, I never saw if this was actually validated, but we were told one of the reasons it was called holler is because you'd holler to everything you'd holler to the neighbors because everything echoed through the ravines and stuff.

Tony Maietta:
That was the only way of communicating because there was no telephone. There were no telephones up there. There was no electricity up there. One of the things that struck me about this film when I was watching it and the beautiful cinematography is how dark, literally how dark the scenes are because there was no electricity. And we're talking. This is the forties. This is, you know, Loretta Lynn. This is like right after World War II is when the story starts.

Tony Maietta:
There was no electricity. They lived in with gaslights. You know, she studied, you know, one of the lyrics from Coal Miner's Daughter. Mommy read the Bible at night by the coal oil light. So, you know, that coal they were digging out of the Van Leer coal mines where Loretta Lynn's father worked also supplied them with. Read it with the lights so they could read and function. It's astounding to me to think that's 1947 and this is how proudly these people lived in these very, very remote areas. There were no roads, right? No roads at all.

Tony Maietta:
Remember, you never get that thing up that holler. Remember when. When the Jeep and Dulozag can take this anywhere. You'll never get that up that holler. Yeah.

Brad Shreve:
And that's one thing that I thought was really well done as well. There wasn't an emphasis on how poor they were. It just. It wasn't like, look at them. They're poor, they're poor. They just were. You could just see the way they lived and the way they acted and the things they had. They were poor.

Brad Shreve:
There was no reason to emphasize, hey, we're poor. She obviously sings it in her song. You had the funny little thing where she's next to her old wobbly washing machine and she kicks it, you know, gets up and kicks it and then goes back to what she was doing. There was that. And. But for the most part, just like the way they portrayed the people, it just was.

Tony Maietta:
Yes, it just exactly it. There's no comment on it. This was the way they lived and there was no reason to expect, as she says, she never thought of leaving Butcher Holler. You know, in the beginning of Coal Miner's Daughter, this is the. She never thought of leaving Butcher Holler. Like she says in the song Coal Miner's Daughter, this was the way they lived. You know, and they. It's captured so beautifully in this film, the production design, the newspapers on the wall as wallpaper to keep the drafts out of the cabin.

Tony Maietta:
That cabin, you know, Wow. I mean, it's just, it's a way of life that you really feel like you're in a. If you're not familiar with it, it's like you're watching a film from a different planet when you realize that this is 1947 and television was happening in other parts of the world and electronic communication and these people are living like air. It's 1847, not 1947. It's very fascinating.

Brad Shreve:
It very much is.

Tony Maietta:
So I think I want to talk. I want to talk a little bit about some of my favorite scenes and I'm sure you do too. But there's one thing that I want to talk about which I read, which is kind of like a little myth buster. It's kind of legendary that. And the film emphasizes this. How young Loretta Lynn, Loretta Webb at this time is when she and Mooney get married. You know, her father says Lorraine's getting to be a woman going on 14. And so you're led to believe that Loretta Lynn was 13 when she married Do Little Lynn.

Tony Maietta:
And Loretta Lynn herself has emphasized this, but it's kind of a self fabricated myth that she got married at 13. In reality, it was illegal for a child under 15 to get married. Even in Kentucky it was illegal for a child under 15 to get married. However, Loretta Lynn, you know, said 13. Here we are again. When the, when the legend becomes fact, print the legend. And that's what we have here. But that's one of the jarring things about this film when you're first watching it is realizing how very young she is and she's going to go get married to this man, ask for her hand in marriage to this guy that

Brad Shreve:
just got back from the war.

Tony Maietta:
Yes, this little toy soldier. No toy soldiers on my beach. It's true, but it, I think that's one of the things that you don't realize until you see it in this film that she's based. She is, she is a child. And when they first get married, she's a child. Okay. She doesn't understand what's going on. I'm almost certain she probably knew about sex because she doesn't seem to be that surprised.

Tony Maietta:
But she sure didn't like it when they were first started. She sure didn't understand it. And when she's waiting for him to come home when they're newlyweds and she's like laying on the sofa reading that magazine, she's like a little kid waiting for her dad to come home. Yeah, it's a little disturbing in a way, but that's the way it was. That's the way it was.

Brad Shreve:
I love it. The morning after when she won't leave the hotel room because people will know what they were doing in there.

Tony Maietta:
I don't want to walk in there, have people know.

Brad Shreve:
You think we're the first ones to figure that out?

Tony Maietta:
The whole world figured that out. Loretta. And then when she gets pregnant and he says to her, well, maybe we finally found something you can do. And boy, could she.

Brad Shreve:
Yes, you could.

Tony Maietta:
So I think my favorite parts of this movie are the beginning is the beginning scenes that take place in Kentucky, you know, that were shot in rural Kentucky, you know, they had to create that holler and build that cabin because by 1979, when this film was being made, Butcher Holler became too modernized. It did have telephone poles and roads. So they built that cabin on the side of a hill. And they shot those early scenes of the movie first. And they met a lot of hostility, even though they were being very respectful. They were outsiders. They were trying to be very respectful to the locals in this area. But they did meet with a lot of hostility and some threats from a lot of the native folk there.

Tony Maietta:
A lot of the mountain folk threatened with guns and with violence because they did not know. They wanted to make sure that this film was representing them. They had been burned enough by all the cliches about backwards Appalachian people. So they were very sensitive and they. They tried to be very, very sure that they let them know, no, we're being respectful. And having those two non actors in the cats playing her parents was very helpful to that because it was. They were part of the culture. So I said they filmed in rural Kentucky and they.

Tony Maietta:
The interior sets, like the interior of the house and the interior of the church they were built in. And there were no studios there, obviously, so they built them in an old Piggly Wiggly in Hazard, Kentucky. Isn't that great? I love that. I love that. I love the early part of the film.

Brad Shreve:
I do too. I have some criticisms of the film and it's not because of the film itself, but because of the limitation of film. And you know, I don't like to compare books and films because I've said this a million times, but it does bother me because this is a biopic that so much had to be changed to fit into a film. The way that people acted, the relationship between Loretta and Du and how they both were personality wise. And one of the things that really disappoints me is it really doesn't get across how poor they were and like we said earlier, I didn't want it to be in your face, these people. Loretta herself said this her. I didn't want it to be, like, squashed in your face, like I said earlier. But she said it was toned down from the movie.

Brad Shreve:
She said, in my book, I really go much deeper into how poor we were. But then people would just left the movie depressed.

Tony Maietta:
Well, yeah, I guess. I guess so. They had to Hollywoodize it a bit, clean it up a bit. But still, it's still pretty. I think, to me, it still represents. It's still very representative of what her childhood was like.

Brad Shreve:
Yeah. And definitely not a place I'd want to live, nor would I want to work in one of those old mines.

Tony Maietta:
She said it's hard for her to watch. It was hard while she's passed now. God bless you, Loretta Lynn. She said that it was hard for her to watch the movie in later years, obviously because of Dolittle, because Doolittle was gone, but also because of the fact that it seems so real. So many of the scenes were real. She said that scene. And it's one of my favorite scenes, the proposal scene, the wedding scene where Doolittle asked Loretta to marry this child. And she goes, you gotta, you know, go ask my daddy.

Brad Shreve:
Oh, I love that.

Tony Maietta:
So she goes in to ask Ted Webb, and he says, go ask Clara. So he goes, and he has Loretta's mother, and she says, go ask Ted. And they have to go back and forth and back and forth. And Tommy Lee Jones. Dulo's like, I can't be running back and forth all night. She goes, and sissy space, like Loretta says, well, I guess you'll have to wait till they get in bed. That's the only time they're together. And so he comes into them when they're in bed, about to go to sleep and ask for Loretta's hand in marriage.

Tony Maietta:
And he's given it, with which, you know, I don't know. I guess they realized that this was. They weren't going to be able to stop these two. They're going to get married regardless of the fact that Loretta is way underage and really not prepared for marriage. It's a very charming scene, though, the way Tommy Lee Jones plays it. He's so funny in it. And, you know, as I said before, Levon Helm and Phyllis Boyens. Phyllis Boyens is laying in that bed holding the baby, and you can see one tear rolling down her cheek when this is happening, because she knows, you know, everything's about to change.

Tony Maietta:
Her oldest daughter's leaving. And it's so beautiful. And it's so simple. So simple. It's a beautiful scene. That's a beautiful scene.

Brad Shreve:
Yep. So I want to get on my favorite scene, probably favorite scene. The radio station. They pull up at, kcbl, I think is the name of the radio, were the colors for the radio station to talk to the guy, she said, you know, I sent you my stills and I sent you the music. And he goes, yeah, it went nowhere. We played it. It just dropped dead.

Tony Maietta:
Yeah.

Brad Shreve:
And she looks down and the. The letter or the envelope is sitting there unopened. And she goes off on him.

Tony Maietta:
So great.

Brad Shreve:
Why did you lie? Blah, blah. And it just was.

Tony Maietta:
I can't believe it. I can't believe a person could be so dad gum.

Brad Shreve:
Mean, mean.

Tony Maietta:
I can't believe it. And she goes on and on. It's such a great seed.

Brad Shreve:
It wasn't because it didn't do well, but because he lied about not doing that.

Tony Maietta:
That's it exactly.

Brad Shreve:
I can't believe I got babies that

Tony Maietta:
I. I left my babies with my mom. Do little. He doesn't get any sleep. I mean, she just goes on and on. It's so. It's just so. It shows, first of all how brilliant Sissy Spacek is, but how funny Loretta Lynn just was.

Tony Maietta:
Naturally, which I think is another thing that SpaceX captures so beautifully, is the fact that Loretta Lynn was a very funny woman. Just naturally. A great sense of humor. Just listen to some of her songs. You're the Reason Our Kids are Ugly. One of my favorite songs of hers. I mean, come on, they're fine. You don't want to go to Fist City.

Tony Maietta:
I love Fist City. And this is Loretta's humor. And you want to keep that arm, you better get off my man. That's one of my favorite scenes, is when so Loretta has met. Loretta's starting to, I guess we should say the synopsis of this. And I think everybody pretty much knows it's a rags to riches story. Loretta Lynn starts out, poor Doolittle buys her a guitar because I like the way you sang. And she starts playing it and she's really good.

Tony Maietta:
She writes a song, Honky Tonk Girl. And she goes and sings it at a honky tonk. And that's where her career starts. And her career starts taking off and they start traveling, start sending out records to radio stations, as Brad said. And she begins to build a name for herself. And then they get to Nashville and she gets on the Grand Ole Opry. And then she meets Patsy Cline played by the brilliant Beverly d'. Angelo.

Tony Maietta:
And one of my favorite scenes is when they're performing together because Patsy and Loretta did do some tours. You know, Patsy was helping Loretta out, so she appeared in her show and beverage. And Sissy Spacek and Beverly d' Angelo do some wonderful duets back in baby's arms. It's so delightful. And Doolittle is nowhere to be found because by this point, Dolittle is feeling like a third wheel. He's. He's not. He was the driving force behind getting this career started, but now Loretti is getting too big for him to really do anything, and she's coming under the wing of the Nashville Machine.

Tony Maietta:
So he's getting pissed off, and he's. He ends up in a car with, I don't know who you are, but I know what you are, with a woman of ill repute. And Loretti's looking for him, and she opened the door, and there's that here. There he is in a car seat with this woman. And she goes, you know, I don't know who you are, but I know what you are, woman. If you want to keep that arm, you better get it off my man. And then the scene cuts to the next scene. They're on the bus driving, and Loretta is playing the lyrics to a new song she's written to a new song she's written called you ain't woman Enough to take my Man.

Tony Maietta:
And Dolittle says, where'd you get the idea for that? And she goes, where you thank?

Brad Shreve:
And she kicks him.

Tony Maietta:
She's so spicy. She's so spunky. That's what you love about this character. She's just so much fun and so full of life. Love that.

Brad Shreve:
And Loretta said she sat down with Dulo. In fact, this was Dulo that was saying this because he's not shown in a very good light in this film, which is one of my issues, I think.

Tony Maietta:
So I think he's shown. I think he's very softened for this film. Very softened.

Brad Shreve:
I say. I think he's shown in a horrible light, and it's never resolved. He's shown in a true light, but not an entirely true light, based on all the interviews that I saw, including with the children.

Tony Maietta:
So. Well, in what way? Explain that. In what way? Okay, you think it's a harsher treatment.

Brad Shreve:
Then he was portrayed as a drunkard. He was portrayed as a womanizer, having affairs. All of that is true. He was also violent. Loretta was also violent. Violent. She was cantankerous, what she said. And apparently it's better in the book is they softened her and they hardened due, really, because they didn't show her rough and tumble side and they didn't show that Dew had a softer side.

Brad Shreve:
And that's the same thing the children said. They were like. He was a tough guy. He was a harsh disciplinarian. He was no nonsense. But he also deeply loved our mother, which they showed. But they said that there were long periods where these two just really had what we would. For lack of a better term, a normal relationship.

Brad Shreve:
What we would see with these horrible dysfunctional things interspersed throughout. Where she felt she was. I hate when choose sides. She was just as bad as he was. The way he was portrayed in this film. She said I would hit him hard. But it was shown that he was always the one that. Now, you didn't see it this way.

Brad Shreve:
I did. I sat there and I'm like, he's just an awful person. And the way they felt like they softened in their later years, which is in the book. But the book, the movie cuts off earlier so you don't see where they kind of. They do soften up and live more. A more romantic lifestyle, spending time together. So that is one of the challenges that I wish there was a way it almost would be better as a miniseries.

Tony Maietta:
Yeah. Well, any biopic, any book. Yes. A life is much longer than two and a half hours. But no, I see. I. And I feel different about him. I think he shows.

Tony Maietta:
There are scenes of such a great effect between the two of them. You see the love he has for his children, the way he takes care of his children after he leaves the road and runs the ranch. The way he is with the twins, with. With Peggy and Patsy. When am I ever going to be able to tell you two apart? Never, I think. I think he's very tender. I think there are certainly moments where he is. I mean, he's Doolittle in.

Tony Maietta:
He's a. He's a mountain man. Yeah. He's got some harshness, but I don't know. I. I kind of. I disagree with you on that. I think Tommy Lee Jones gives him such a charm and.

Tony Maietta:
And I do think there's moments of real affection between them. How about when she has her breakdown on the stage and she calls out for Do Do. Little do. You know, I think that's. These two people were so much a part of each other because she'd been with him since she was. Air quotes 13. Can you imagine?

Brad Shreve:
Yeah.

Tony Maietta:
They were so much a part of each other's lives and Such an integral part. They were like another limb. And I think that's shown in the movie. And I think that. I don't know, I don't. I don't think he's harsher in the movie. I don't. I think they harsh.

Tony Maietta:
I think they actually softened him, I gotta say.

Brad Shreve:
I would like to see more what their real relationship was. The back and forth between them, the soft, the soft moments and the harsher moments that both were involved in. But again, it's a two hour movie, you know, first of all, I do want to say that I started to get to it and then I got distracted talking about the film. Doolittle said that when she was writing this autobiography, she said, how true should I be? Because not many men want to be written. That they were alcoholics and. No, of course not drunk. That they were drunks and having affairs. And he said, if you're going to do an autobiography, you got to tell the truth.

Brad Shreve:
So kudos to him. Kudos to him.

Tony Maietta:
Kudos to him. Kudos to him. Well, I think that. And. Well, another reason. Another. There's another reason that there's a problem. The problem I have with this film, and it's not a huge problem.

Tony Maietta:
The film has what they call in the theater, second act problems. Because the first act is all about her rise, all about the struggle, all about the excitement of becoming the first lady of country music. And then what? So that's the thing the movie has a problem with. Okay, now what's the climax gonna be? What, what's the. Okay, so she's a star now. Nobody. They're still married, they're still living. This is a big problem too.

Tony Maietta:
Loretta Lynn and Doolittle Lynn were still alive. We're still very vibrant, still very active in the community. What are they gonna do to finish off this movie? There's no big climax. So they make the climax of the film kind of be her breakdown on stage that she has because she's been touring so, so much. And when she goes do. And she faints, but it's not much of a climax. She goes home, she rests for a couple years and then they're going to build the house with the bedroom in the front because she can pull down a dadgum window blind and that's the end of it. You know, it doesn't really have.

Tony Maietta:
I don't want to say it goes nowhere, but there's really nowhere for it to go after she's become a star.

Brad Shreve:
I think there's a lot of places they could have gone with that. And I think that they did fail in that. I think they were they trying to put too much into it. You know, her whole collapse and exhaustion happened far after it did in the film and happened in the 70s. And one thing I really liked is that whole monologue she does or the speech she gives to the audience about how tough it's been before she finally has to be carried away. She never said that.

Tony Maietta:
Yeah, well, yeah, I kind of.

Brad Shreve:
And Loretta said it was really well done because emotionally it hit the target. And she said there was no other way to have shown that. So it's not a negative. To me, that wasn't in there. I just felt like that was one of the highlights, that they found a way to bring out those emotions and make us feel. I don't think they carried that through as well, like you're saying. I don't think they carried it through. There's a lot of ways they could have gone.

Brad Shreve:
I'm sure there was a lot of adapting. Okay. I grew up this coal miner's daughter, and now I have a mansion. What was the process between all of that? There had to be more than just picking out where the bedrooms are going to go. I think there's a. There could have been different ways. And all those kids.

Tony Maietta:
All those kids she had. All those kids she was having. Oh, I hope it ain't twins again. Well, I know. So the screenplay, which. I love the screenplay. It's a brilliant screenplay by Tom Rickman, which really captures the language of that area. I think he did the best job he could with a story that was still continuing.

Tony Maietta:
That's the problem. It's not like Sweet Dreams, where we know the climax of Sweet Dreams is surprise. Patsy Cline dies. We know that Buddy Holly story. We know the climax of the Buddy Holly Story is Buddy Holly dies. Loretta Lynn didn't die. She was still alive. So they had to kind of fabricate this climax of her breakdown.

Tony Maietta:
But it wasn't like at the end of the Rose when. When Bette Midler has her breakdown. Loretta Lynn just needs some time to recover and she's back on the road. I don't know. It's a. It's a. It feels like a manufacturer climax to me, but it's the best manufactured climax they could create, in my opinion. It still works.

Tony Maietta:
I'm not selling it at all. It's the best they could do with the obstacles they were in front of them.

Brad Shreve:
I agree, and I'm not. I don't want to criticize the screenplay because I think it's Incredible. And it is taught as one of the best biopics ever made because it is very real and it wasn't polished for the public to say this is what it was. But it shows the struggle of taking a person's life and putting it into a two hour movie. So that's where my. That's where my criticism comes. It's in the actual animal. It's almost impossible to do.

Tony Maietta:
Yeah, it is.

Brad Shreve:
And it seems like it would be better to just say, okay, we're gonna focus on these years only and we're gonna stick with those years. Well, yes, because when you try to put the whole life into a two hour film, it's too much. It's too much.

Tony Maietta:
It is. No, it is. And you know, the most successful biopics focus on a certain event in someone's life. You look at Capote, a perfect example, that period of time when he was writing In Cold Blood. You don't have the entire career of Truman Capote. Well, unfortunately, you really couldn't do that with Loretta Lynn. You had to, because the event was her coming from the backwoods of Kentucky to becoming the first lady of country music. And I guess you could have ended it with her at the Grand Ole Opry.

Tony Maietta:
I don't know. I think that there had to be some drama. And I just feels a little. It doesn't feel forced. It feels manufactured to me. And I say that hesitantly because I still think this is a brilliant, brilliant film. I think it's.

Brad Shreve:
It is perfectly okay to critique a film no matter how beautiful it is. Tony, you should know I always want to make that clear. Just because I do my critiques does not mean I don't think it's brilliant. I love this film.

Tony Maietta:
I don't know who the hell a film historian is here and who the ordinary guy is because we're always. I'm always. I love this movie. You're always like, well, I see issues.

Brad Shreve:
I'm gonna use Freddie Mercury's film. I can't remember the name of the

Tony Maietta:
movie, but the Bohemian. Bohemian Rhapsody. Bohemian Rhapsody.

Brad Shreve:
Okay. That is another film that I think covered way too much from the beginning. Somebody that was unknown to Freddie. And there were a lot of liberties taken in that film and most of it is to try and make it all fit into a two hour film. You're always going to take multiple characters and make them fit into one or you're going to make multiple situations that really occurred and squeeze them together. But when it starts having to do too many to make it all fit that is where I get a little sad. And that's where I'm saying I think it's better just to, like, we just agreed on find a snippet in life and focus on that.

Tony Maietta:
Yes, but what's wonderful about the way Coal Miner's Daughter is structured is that you do get that story of the struggle. You do see how incredibly poor they were and how incredibly colorful their lives are. And it is exciting to watch her slowly ascend. And the most important thing is the chemistry between Tommy Lee and Sissy. It's just such fantastic. They're so wonderful together. It's clear that these two people really, really. And I'm talking about the actors here, not the characters.

Tony Maietta:
These two actors really loved playing together and really respected each other and really fed off each other. Other. That's what makes. That's what gives this film its magic. The magic is in the music. The seeing Sissy Spacek just nail these wonderful Loretta Lynn songs. And the chemistry and the story of these two people together, I think, is. Is what makes this movie so wonderful.

Brad Shreve:
I agree. I agree totally. No argument from me.

Tony Maietta:
So obviously we're going to get into the Oscars of 1980 because this is our best actress. But before we do that, Brad, why don't you tell us how this movie performed when it was released.

Brad Shreve:
This movie did very well. It was a big year. We've discussed this year. Before 1980, the number one film nobody could even come close was the Empire Strikes Back. The next film, the beloved 9 to 5, made half as much money as the Empire Strikes Back. That kind of tells you what kind of year it was. And then we had Stir Crazy. I can't.

Brad Shreve:
Is that with Gene Wilder?

Tony Maietta:
Yeah. Yeah.

Brad Shreve:
Okay. That was okay. That was forgettable. Airplane. A biggie.

Tony Maietta:
Ah, the year of Airplane.

Brad Shreve:
Yep. Any which way you can. Another one that should be forgotten. Private Benjamin. And the number seven was Coal Miner's Daughter. And round those off, we had Smoking, the Bandit Two, the Blue Lagoon, and then Blues Brothers. I didn't realize the Blue Lagoon ever made it to top 10.

Tony Maietta:
Oh, yeah, that was huge.

Brad Shreve:
I guess I was to see Christopher Atkins naked, but it was huge. Yeah, he was a big crush of mine back then, but yeah, so it was made for. It grossed $67 million, and it was made for about 15 million, so not as shabby. Sounds like a good investment, if you ask me.

Tony Maietta:
Yeah, sounds good to me.

Brad Shreve:
Yeah, I think the studio did pretty well.

Tony Maietta:
They did. And Loretta Lynn became even bigger because, as I said, just like with me, this movie exposed her to the widest audience possible. And I mean, you know, she carried it with her till the end of her life. God bless her. I mean, she was truly, truly a force.

Brad Shreve:
So let's pause here for a moment because I, as always, have a few things to say. Yes, we have been getting a lot of great feedback which we will share. We're not going to do it every episode, but we will share it soon. We have been getting some great feedback from people. I don't know, Tony, do we want to ask people to continue sending us ideas? Because we're getting flooded with ideas.

Tony Maietta:
I told you two episodes ago, we are filling up fast. So if you have suggestions, get them in fast. Get them in fast.

Brad Shreve:
We are. I don't know, we may end up having to draw some of these from a hat. And they're all good. That's the problem. I wish people were sending us ones that suck and we could just say, no, no. But unfortunately, we have a smart audience and that hasn't been happening. But, yeah, please, if you have some suggestions, we'd love to hear from you. You can offer suggestions of any kind.

Brad Shreve:
And you can do that in the show notes. It says text or leave a voicemail. Click on that button. You can send us a text and we'll respond. Or you can leave a voicemail and we'll play it here on the show. We would also really, really, really love it if you could rate and review this podcast. Whatever app you're looking on, you can look right now and you can. It'll tell you rate a review, click that and tell people that you like us.

Brad Shreve:
So hopefully they'll look at it and say, gee, maybe I'll like it, too.

Tony Maietta:
Yeah, you ain't too dad gurn ignorant to do that, are you? I don't think so. All right, so this is indeed. Since this is our best actress series, we're going to go over the Oscars of 1980. Now, as Brad said, we talked about these before. We talked about them when we talked about another wonderful actress this year.

Brad Shreve:
Who is that? I don't know who you're talking about.

Tony Maietta:
Who was that named? Mary Tyler Moore. Yes. This was the year of Ordinary People.

Brad Shreve:
Okay, we're gonna have to start adding Mary moments.

Tony Maietta:
We do. That's good. So in addition to Mary Tyler Moore in Ordinary People, the other best actress nominees were Goldie Hawn and Private Benjamin, Gina Rowlands in Gloria, Ellen Burstyn in Resurrection, and Sissy Spacek in Coal Miner's Daughter. Now, this was who won Tony. Shut up. Now, this was probably one of the most competitive years for best actress ever. Every single one of these performances is a career topping performance, a career defining performance. I love Goldie Hawn and Private Benjamin.

Tony Maietta:
She. She has never, ever, ever been better than A Private Benjamin. Ellen Burson in Resurrection. Genius performance. And come on, Gina Rowlands. There's a career capper in Gloria. So this was so stacked and as we said before during Ordinary People, it just breaks my heart that Mary was nominated this year because any one of these actresses could have won an Academy Award in a different year. They're all that good.

Tony Maietta:
However, Sissy won everything. Everything. She won the New York film critics. She won the Los Angeles Film Critics. She won a Golden Globe. Mary won the Golden Globe for a drama, though I want to point that out. Sissy won the Golden Globe for best actress in a musical or comedy. So Mary did get something.

Tony Maietta:
Everything, because, yes, Sissy, as we said at the beginning, Sissy doesn't just act Loretta Lynn, she becomes Loretta Lynn. There's no. There's just no denying that in this performance. She is. It's one of the greatest performances, film performances I think I've ever seen in the fact that it's not a performance. She's just be.

Brad Shreve:
Yeah. Yep. So I have a question. I'm going to go to Private Benjamin only for a minute because I love. I adored Goldie Hawn and I absolutely loved her in that film. But I need to ask the film historian because it's on my mind. It's going to drive me crazy. Have to wait.

Tony Maietta:
Yeah.

Brad Shreve:
Eileen Brennan, when she nominated for best supporting.

Tony Maietta:
Yes.

Brad Shreve:
Did she win?

Tony Maietta:
Yes. For her. Brilliant. Brilliant.

Brad Shreve:
She was wonderful.

Tony Maietta:
Which is very sad. She's wonderful. She's wonderful. So Sissy one, as we said before, Tommy Lee Jones wasn't even nominated, which is a crime. But again, a very, very stacked year. We talked about it during our Ordinary People episode. Donald Sutherland was also not nominated that year because there were so many incredible best actor performances that there just wasn't room for these two wonderful performances. So that's sad.

Tony Maietta:
But as Brad said, Coal Miner's Daughter was a huge hit. It was a tremendous hit and it just. It fed the myth of Loretta Lynn of the coal miner's daughter. Now, I've been to. Big surprise. I've been to Hurricane Mills, Loretta Lynn's estate in Kentucky. Have you ever. Have you ever been over there, Brad?

Brad Shreve:
No, I have not. I have only driven through Kentucky. I haven't spent any time in Kentucky.

Tony Maietta:
Well, I made sure I got my butt to the Loretta Lynn Museum in Hurricane Mills, Kentucky.

Brad Shreve:
And it has Just for this show. I'm certain of that.

Tony Maietta:
Just for this show. I'm gonna go there later after this. I'm in West Virginia and no, it's quite a ways away from here, but. So all the memorabilia from the movie is there. The coal miner is there. I've been inside the coal miner. The bus I sat in the coal miner. It was so cool.

Tony Maietta:
They reconstructed the cabin on the property. You can go into the cabin and see it. All of the dresses that Sissy Spacek wore, all of the dresses Loretta Lynn wore, they're all there. It's fascinating. The Loretta Lynn Museum. If you want to go a day trip and you're in Kentucky, I'd say go for it. But my favorite thing in that whole museum was in the men's room and. Shut up, Brad.

Brad Shreve:
Let me finish

Tony Maietta:
my favorite thing.

Brad Shreve:
Okay, we're gonna have to definitely put a rating on this one.

Tony Maietta:
My favorite thing in that bathroom was a sign above the urinal which said, please do not spit in the urinal. Love, Loretta. Oh God. That's Loretta Lynn for you. That's Loretta Lynn for you.

Brad Shreve:
And if you're not from the south, that's because you don't want all that brown chit in the urinal.

Tony Maietta:
Well, Brad, I guess is there anything else you want to say about. About Coal Miner's Daughter and about this incredible performance, this incredible best actress performance of Sissy Space Sec?

Brad Shreve:
No, I think we've said it all. Just my usual, if you haven't watched in a while, go back and watch it. It was a dope.

Tony Maietta:
Absolutely, absolutely. It's a treat. Well then I think there's only one thing left to say. Cuz I'm getting a horny and I got to go spread me up one of them baloney sandwiches. So let's not say.

Brad Shreve:
Well, don't say that on the air. We're going to lose our FCC license.

Tony Maietta:
I thought horny meant cutting up, acting silly. Let's not say goodbye. Let's say au revoir.

Brad Shreve:
No, let's say goodbye, big old Bar Gradle.

Tony Maietta:
Goodbye everybody.